Word: filming
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Dates: during 1960-1969
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Sunning in a Bikini. Theories of sex, drug and witchcraft cults spread quickly in Hollywood, fed by the fact that Sharon and Polanski circulated in one of the film world's more offbeat crowds. Says London Celebrity Tailor Douglas Hayward, "They were both enormously popular in a trendy, fashionable, hippie world." They also habitually picked up odd and unsavory people indiscriminately, and invited them home for parties. "Roman and Sharon had as much idea about security as idiots," says Publicist Don Prince. "They lived like gypsies. You were likely to find anyone sleeping there...
...playing a hippie or a Hopi. But I see it doesn't make any difference." Decked out as a Hopi Indian in headband, feathers and bear-claw necklace, Jean-Paul Belmondo probably created more of a spectacle in Tucson than he would have in Greenwich Village. In the film, Again, a Love Story, with Oscar-winning Director Claude Lelouch (A Man and a Woman), the Hopi bit is just a brief diversion in the adventures of Belmondo and Annie Girardot, who meet and mate as two French tourists motoring across America. "I chose Girardot and Belmondo," said Lelouch, "because...
...what has preceded it and what is to follow. Medium Cool proves the point. It places a fictional plot within an authentic framework by focusing on the moral agonies of a television cameraman during last summer's Chicago Convention. So strongly does it challenge the usual commercial film techniques and themes that Hollywood, ever wary both of stylistic innovation and contemporary politics, may never recover. Socially and cinematically, Medium Cool is dynamite...
...gains meaning and resonance from the documentary footage surrounding it. The results of this apparently free-form exercise may puzzle some moviegoers and its political sympathies will outrage many more. But the basis of Medium Cool is more than solid enough to support as impassioned and impressive a film as any released so far this year...
Mechanics of Illusion. Throughout Medium Cool, Wexler makes his presence known behind the camera. In what must stand as one of the most gripping sequences in modern film making, the Illinois National Guard fire tear gas at a group of terrified youngsters while one of Wexler's assistants is heard to scream off-camera: "Watch out, Haskell, it's real!" Still, Wexler's dramatic attempts to reconcile personal and public crises lead him occasionally to overload his film. The romance never quite has the passion and urgency that it should, and the novice director's infatuation...